Discussion concerning the first major re-evaluation of Dewey B. Larson's Reciprocal System of theory, updated to include counterspace (Etheric spaces), projective geometry, and the non-local aspects of time/space.

A common misconception is that pure light is white. A sunbeam through a window in a room during the day, or the beams spreading from a car’s headlights at night, are due to the light interacting with a surface or fine air particles. An example of pure light without geometric “rays” or “beams” is a full moon on a clear night. The sun’s reflection gives us the light by the silvery moon, but nowhere can rays of pure light from the sun be seen in the night sky.

I liken this aspect of pure light somewhat to pure consciousness. Consciousness is perhaps beyond the temporal and spatial in another realm or dimension – not localized in the brain – and cannot be directly detected by the external senses. When consciousness interacts with brain matter, suddenly ideas, images and sounds “appear,” seemingly out of nowhere.

Goethe intently studied the coloured fringes that appear through a prism. He concluded that the condition of the famous ROY G BIV spectral colours of the rainbow that alight is but a special, isolated case. A few examples of coloured fringes as viewed through a prism are shown in Figures 1 to 4. Figure 5 shows how coloured fringes actually emerge from a prism contrasted against an erroneous educational depiction.

Goethe eventually abandoned the prism as a complicating factor and began to observe the phenomena outdoors in the sky and the landscape to find the core conditions where colours first emerge. Like axioms in geometry, he sought to discover situations which form the basis for all other colour phenomena. He eventually narrowed it down to two such primal phenomena:

>> Light emitted through a colourless, transparent medium first manifests as white. As the medium becomes denser and the transparency decreases, the light darkens to hues of yellow, orange, and red. The sun takes on these hues depending on whether it’s overhead or near the horizon where the atmosphere is thicker. At the extreme end of densification and opacity, light is shut out to black.

>> Darkness illuminated through a colourless, transparent medium first manifests as black. As the medium becomes denser and the transparency decreases, the darkness lightens to hues of violet, indigo, and blue. The black night sky becomes modified by the sun’s daytime illumination and displays a range of these hues, from dark blue overhead to light blue near the horizon. At the extreme end of densification and opacity, darkness is diminished to whiteness.

What’s key to these two phenomena is the dynamic interplay of light and darkness. The darkening of light in the one case, and the lightening of darkness in the second case, create opposite ranges of colours. Because of this, Goethe suggested the term polarity was most suited to colour phenomena, for it represents “the eternal systole and diastole, the eternal collapsion and expansion, the inspiration and expiration of the world in which we live and move.”

Colour bands occur through a prism due to a mingling of these polar forces. Reviewing Figures 1 to 5(b), you can see how these phenomena arise along edges between light and dark. As a band of light or dark becomes narrowed, the primal colours unite to form secondary colours of green or magenta.

A prism isn’t the only condition for the polar opposite coloured bands to appear. In the seventeenth century, Francesco Maria Grimaldi, a mathematician and physicist, studied coloured fringes that developed when a very narrow beam of sunlight was projected along the edges of small objects. He noted that the shadows cast were “always bluish at the side which is nearer the [central] shadow and reddish on the further side.” Polar colour effects can be seen when looking at a light through a feather or reflected from a compact disc (See Figure 6). The media may differ, but a similar dynamic and complex interaction occurs between the light and the darkness.

Let's add some extra unity and Tao to what we've learned so far:

Analytical science has classified several different technical cases where colours can arise, such as refraction, diffraction, dispersion, scattering, and interference. The scientists then hypothesize beneath what our senses confront to try and find a common microscopic entity or element that is the cause – whether it be a particle, a wave, wave-particle duality, or some other mysterious entity or process not yet dreamed up. The theories and mathematics are impressive, but the knowledge of light and colours studied in this materialistic manner is a disjointed venture that dissects and deadens nature.

For holistic science, whether one calls it refraction or diffraction, it’s all a distraction. Goethe studied the phenomena on their terms at the sense level and had no interest in abstract concepts or theoretical causes added beneath the phenomena. He strove to identify the common conditions where colours arise in nature, and his approach provides coherence, relationships and unity. It truly is in tune with the Tao.

With all the theoretical struggles in physics over the past three centuries, vision science continues to be based mainly on the Newtonian model of optics and colours. The eye is studied as an “object,” artificially disconnected from the human soul and spirit. The industry believed they discovered a physical defect (progressive myopia), where in fact – like the spectrum supposedly split apart by the prism – they actually manufactured the condition and foisted it upon an unsuspecting public. What’s myopic is the old science itself, unable to see where it’s gone astray. A more holistic and Taoist approach to the study of light, colour and human vision is long overdue.

"A more holistic and Taoist approach to the study of light, colour and human vision is long overdue." We're working on it...

Chris, I got in touch with Doug Marsh of the Tao of Colors... had bumped into that website independently and found it very useful. He gave me some more references to add to the study.

There are several features of light that have to be incorporated:

1. When interacting with transparent slabs, there is no color being evoked in light
2. When the transparent slab has an angle to it i.e. becomes a prism, colors are evoked at boundaries of light and dark
3. When the transparency reduces and milkiness is introduced, upon looking at dark there is blue, and looking at bright through it there's yellow
4. When opacity rules, then we have to use the observations of Edwin Babbitt... more oxidized states are redder, less oxidized states are white blue or green.
5. When passed through a prism, the entire beam of light has the potential to evoke colors
6. When passed through a series of glass slabs, light both refracts and reflects. These two parts are called "linearly polarized"
7. When these two happen together, it is called "double refraction" e.g. iceland spar
8. When these two polarized beams are used they do not interfere
9. When the light from linearly polarized set up is passed through a transparent body, and a magnetic field applied, the line of polarization rotates
10. When passed through quartz, this line rotates continuously as a function of thickness

2. When the transparent slab has an angle to it i.e. becomes a prism, colors are evoked at boundaries of light and dark

I was discussing the nature of an "image" with Zach a while back... basically, how can ALL the photons of a landscape fit through a pinhole lens? Easy to reproduce--take a piece of cardboard and stick a pinhole in it. Place a white sheet behind it and it acts like a lens, casting an image on the sheet.

I suspect that "light" is different from an "image" (even if the image is a ray coming through a slot of white light). Images act like holograms--not a group of individual photons. This may explain why boundaries "blur" into colors... the interference pattern is being interfered with by the prism. Interference patterns are created by a differential, so the sharper the change, the sharper the pattern. Subtle changes in color will not be apparent as splitting into offset colors.

If you pass an image through a prism, like a photograph from a slide projector, what happens?

bperet wrote:If you pass an image through a prism, like a photograph from a slide projector, what happens?

The exact same thing happens as when you look at an image through a prism, except that the red and blue edges are reversed.

If I look at an image of a white elephant on a black background through a prism, let's say the reddish portions occur on the top, and the bluish at the bottom. When the same image is projected through a projector and passed through a prism, on the screen the white elephant will have blue portions at the top, and red at the bottom. Except for this all the other features are identical. Other colors except black and white are also shaded in a similar way.

The exact same thing happens as when you look at an image through a prism, except that the red and blue edges are reversed.

Here's another one for you... I was using my prism for those experiments in the book you loaned me and placed the prism on the page (C)... when you do that, the black/white edges remain sharp with no colors, either in the "direct view" (A, looking down at an angle) or in its reflection (B, looking horizontally at the back edge).
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Looking at book through prism

prism-on-book.png (27.03 KiB) Viewed 255 times

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I can understand why the parallel planes of the sides of glass do not cause splitting, so why am I getting a clear image through a prism, where every distance and angle through the medium is different? However, if I lift the prism off the page, then the colors start to show up.

This would seem to indicate that the thickness of the medium that light traverses is irrelevant and the color is a result of some kind of diffusion of the atmosphere between image and prism.

Color, being an angular velocity, is easily modified by other angular velocities or rotational vibrations. Photons can change color "on the fly," so there is no such thing as a "pure ray" of color--pass it through a strong magnetic or electric field, or too close to an atom, and it will change color.

Photons encountering a rotational equivalent space (or time) will cause the angular velocity (color) of the photon to shift in a single direction, as though it was changing frequency.

Photons encountering a rotational vibration (field) will split into two rays, as the vibration is a birotation with oppositely-directed rotations--this will cause half the photons to accelerate a rotation and the other half to decelerate, demonstrated by the Zeeman effect.

Green/Magneta, being in a plane orthogonal to the real axis (black/white), is a 2-dimensional "magnetic" rotation. This is demonstrated by the green color associated with strong, magnetic phenomenon, such as tornadoes and the aurora borealis.

The concept of "frequency" being a color is misleading. It would be better expressed as angular velocities, as shown in the Photon 2.0 demo. (There are actually three frequencies involved.)

Because any scalar location can have TWO rotating systems present (as Larson uses in his atomic system), photons can exist in pairs, the dual-quaternion, similar to Cooper pairing of electrons.

The maximum displacement of a photon is 1 unit for a single rotating system, or 2 units for a dual. This means that the photon has no equivalent space or equivalent time that extends past the unit space or unit time boundary (per Larson, BPOM on interatomic distances, the ln(2) =0.7, and it needs to be at least 1.0 to have an equivalent presence).

The lack of an "equivalent" field means that the internal dimensions of the photon are independent. Each can rotate in either space or time, without any external consequence. (Once a motion has an equivalent field, it takes on an ordered dimensional sequence that Larson refers to as "speed ranges.")

The wavelength of a photon is the diameter of its unit space boundary, which makes it appear to be a particle.

The photon must also have a waveduration, the diameter of its unit time boundary. This makes it appear to be a wave, because it is a nonlocal field effect. (The waveduration may be what causes biological problems with EMR, electromagnetic radiation--not the wavelength.)

Here is a photo of the aurora, showing the green and magenta colors distinctly--"magnetic colors" from the interaction with the Earth's magnetic field at the poles:

bperet wrote:Here's another one for you... I was using my prism for those experiments in the book you loaned me and placed the prism on the page (C)... when you do that, the black/white edges remain sharp with no colors, either in the "direct view" (A, looking down at an angle) or in its reflection (B, looking horizontally at the back edge).

That is because a prism requires TWO refractions at DIFFERENT angles for color to arise. If you put the prism ON the paper, then the first refraction (air-prism) is removed, and it is just as if you had painted that surface of the prism. The only refraction is at the other surface of the prism (prism-air). It is just like a raised coin in a glass of water.

If you use a rectangular slab, there are two refractions, but they are not at an angle. So colors don't show up.

Doug Marsh wrote:The combination of reflection and refraction is certainly taught when a beam enters a flat surface such as water from the air above. Yet the potential significance of this basic concept seems to be ignored in the prism. The refracted beam through the prism is usually assumed to be the original beam simply being bent as it enters and emerges from the prism faces. It’s typically depicted that way in artists’ renditions for textbooks. The inherent assumption is that the exiting beam is the same intensity, and the “white” has magically split into the colours of the spectrum. Yet if the intensity of that coloured beam is only 72% of the original beam, how then can the Newtonian camp argue that those coloured “rays” constitute the whole of the original beam?

Are these two variables of reflection and light intensity simply a coincidence with regard to spectral colours, or is there a definite correlation that is a causal factor in coloured fringes developing? It would be nice to see some future research along those lines.

That is because a prism requires TWO refractions at DIFFERENT angles for color to arise. If you put the prism ON the paper, then the first refraction (air-prism) is removed, and it is just as if you had painted that surface of the prism. The only refraction is at the other surface of the prism (prism-air). It is just like a raised coin in a glass of water.

I guess that makes the real question: what are the atomic conditions that create a refractive boundary? Obviously gas-solid does, when the solid is transparent, but solid-solid does not? Yet, this does:

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Does the spectrum only appear with vapor or gas states as one side of a boundary?

The other thing I am looking at is transparency. Different wavelengths are transparent to different types of material; many materials that stop visible light are transparent to X-rays, and some that pass visible light stop RF. Any info on how transparency works?

I would assume X-rays are spatially displaced, since atoms are temporally displaced and space-to-time constitutes motion. It would be the presence of spatial rotation in the atoms that would block X-rays. If that is the case, then the noble gasses should be completely transparent to X-rays, since they have no spatial displacement.

RF travels through the air, but is blocked by most many materials, including water (except at very low frequencies--ELF range--where it is transparent). This would indicate a temporal displacement--but cannot be just that, otherwise even ELF would be blocked.

Looking for the conditions that allow photons to pass through various types of matter (and antimatter).